VIETNAM NATIONAL UNIVERSITY- HANOI

UNIVERSITY OF LANGUAGES & INTERNATIONAL STUDIES

FACULTY OF POST- GRADUATE

VƢƠNG THỊ THANH NHÀN

TRANSLATION EQUIVALENCE OF TERMS IN QUAN HO

BAC NINH FOLK SONGS

(Tương đương trong dịch thuật ngữ dân ca Quan Họ Bắc Ninh)

M.A COMBINED PROGRAM THESIS

Field: English Linguistics

Code: 60 22 15

Hanoi - 2012

VIETNAM NATIONAL UNIVERSITY- HANOI

UNIVERSITY OF LANGUAGES & INTERNATIONAL STUDIES

FACULTY OF POST- GRADUATE

VƢƠNG THỊ THANH NHÀN

TRANSLATION EQUIVALENCE OF TERMS IN QUAN HO BAC

NINH FOLK SONGS

(Tương đương trong dịch thuật ngữ dân ca Quan Họ Bắc Ninh)

M.A COMBINED PROGRAM THESIS

Field: English Linguistics

Code: 60 22 15

Supervisor: Assoc. Prof. Dr. Lê Hùng Tiến

Hanoi - 2012

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TABLE OF CONTENTS

DECLARATION …………………………………………………………...i

ACKNOWLEDGEMENTS……………………………………………..…ii

ABSTRACT………………………………………..………….……….…..iii

TABLE OF CONTENTS…………………………………….…….……...iv

LIST OF TABLES……………………………………………….………..viii

LIST OF ABBREVIATIONS……………………………………………..ix

PART A: INTRODUCTION………………………………………………1

I. Identification of the problem and rationale for the study……………..1

II. Aims of the study………………………………………………….….2

III. Scope of the study……………………………………………….……3

IV. Significance of the study…………………………………………..3

V. Organization of the study……………………………………………..4

PART B: DEVELOPMENT...………….………………………………….5

CHAPTER 1: THEORETICAL BACKGROUND……………………….....5

I. Translation equivalence…………………………………...…………..5

1. Definitions of translation ………………………………...…………...5

1.1. From linguistic approach………………………...…………….5

1.2. From cultural approach …………….………………...………..6

2. Different theories of translation equivalence…………………...…….8

2.1. Concepts of “equivalent effect” in translation ………………...8

2.2. Concepts of “non-equivalence” in translation………….……..11

3. Translation of culture-specific concepts………………………..……16

3.1. Different views on culture-specific concepts………………....16

3.2. Translation strategies for culture-specific concepts…………..17

II. Terms in Quan Ho Bac Ninh folk songs as culture-specific concepts.24

1. Description of Quan Ho Bac Ninh folk songs………………….…....24

1.1. Origin of Quan Ho singing ……………………………………24

1.2. Performance of Quan Ho songs ………………………………25

1.3. Quan Ho song lyrics ………………………………………….26

1.4. Quan Ho singing outfits ………………………………………27

2. Outstanding features of Quan Ho Bac Ninh folk songs……………...27

2.1. From artistic aspect……………………………………………27

2.2. From cultural aspect……………………………………………28

3. Quan Ho Bac Ninh terms as culture-specific concepts………………29

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CHAPTER 2: RESEARCH METHODS………………..………….………30

I. Phase 1: Identification of QHBN terms in Vietnamese………………30

1. Data collection methods………………………………………………30

1.1. Document review…………………………………………………30

1.2. Observation ………………………………………………………31

1.3. Interviews ………………………………………………………...31

2. Data analysis methods ………………………………………………32

II. Phase 2: Analysis of QHBN terms in English ………….………..….38

1. Data collection methods……………………………………………...38

1.1. Document review…………………………………………………38

1.2. Observation ………………………………………………………39

1.3. Interviews…..…………………………………………………….39

2. Data analysis methods ………………………………………………39

3. Phase 3: Creation of QHBN glossary ……………………………….39

CHAPTER 3: FINDINGS AND DISCUSSION …………………………..40

I. What are translation strategies for terms in Quan Ho Bac Ninh folk

songs?

1. Transference…………………………………………………………45

2. Literal translation ……………………………………………………45

3. Reduction ……………………………………………………………49

4. Cultural equivalent …………………………………………………..50

5. Descriptive equivalent ……………………………………………….52

6. Couplets ……………………………………………………………...53

II. What are suggested translations of terms in Quan Ho Bac Ninh

folk songs? ………………………………………………………….55

PART C: CONCLUSION ………………………………………………..60

I. Summary of key findings ……………………………………………60

II. Limitation of the study ……………………………………………….61

III. Recommendations for further studies ……………………………….62

REFERENCES…………………………………………………………….64

APPENDICES ………………………………………………………………I

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PART A: INTRODUCTION

I. Identification of the problem and rationales for the study

Quan Ho Bac Ninh singing was recognized as an intangible cultural heritage of humanity by the

UNESCO in 2010. The Ministry of Culture, Sports and Tourism claimed that Quan Ho singing had

been listed as a cultural heritage in need of urgent safeguarding. Among the measures taken to

preserve and promote the heritage, introducing Quan Ho Bac Ninh documents in English to

international friends is an indispensable part. However, the translation process has encountered a

number of challenges because the terms in Quan Ho Bac Ninh are culture-specific concepts. In

addition, terminological inconsistency has existed among translated documents.

Bac Ninh is famous for traditional festivals held constantly around the year and the researcher has

chances to join many social events in Quan Ho hometown. A period of time working with experts

on Quan Ho folk songs has also brought the researcher particular understanding about this unique

type of music. Moreover, it is expected that the researcher’s experience as a translation practitioner

will set firm background for related studies. These above grounds have encouraged the researcher

to conduct a study on “Translation Equivalence of Terms in Quan Ho Bac Ninh Folk Songs”.

II. Aims of the study

The objectives can be summarized into two research questions as follows:

- What are the strategies to form equivalents of terms in Quan Ho Bac Ninh folk songs?

- What are the suggested equivalents of terms in Quan Ho Bac Ninh folk songs?

III. Scope of the study

Within the limitation of time and reference materials, the study will address the problem of non-

equivalence rather than stretching efforts in other differnt aspects of translation equivalence. In

addition, the researcher will not focus on all the terms used in Quan Ho singing documents. Only

some key terms related to the following points will be discussed: Quan Ho singing origin and

social practice; Quan Ho singing forms; Quan Ho singing tunes; Quan Ho singing techniques;

Quan Ho singing outfits.

IV. Significance of the study

Once being completed, the study will serve as one of the initial small-scale researches on the non-

equivalence in translation of Quan Ho Bac Ninh folk terms with different strategies to cope with

the problem. When the findings of the study are revealed, there might be several implications for

those working on translating Quan Ho singing documents to take them into consideration. The

would-be glossary of key terms in Quan Ho Bac Ninh folk songs will certainly be an effective

supporting tool for those who take interest in this type of music and want to introduce it to

international friends.

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Part B: DEVELOPMENT

CHAPTER 1: THEORETICAL BACKGROUND

I. Translation equivalence

1. Definitions of translation

1.1 From linguistic approach

The first definition presented by Catford (1965: 20) refers to translation as the “replacement of

textual material in one language by equivalent textual material in another language”. Yet, it is still

vague in terms of the type of equivalence. Culture was not taken into account. Next, Newmark’s

definition about translation was introduced in 1981, with major focus on linguistic aspect:

"translation is a craft consisting in the attempt to replace a written message and/or statement in one

language by the same message and/or statement in another language"

1.2 From cultural approach

In 1964, Nida discussed the problems of correspondence in translation, conferred equal importance to both linguistic and cultural differences between the SL and the TL and concluded that

differences between cultures may cause more severe complications for the translator than do

differences in language structure. It is further explained that parallels in culture often provide a

common understanding despite significant formal shifts in the translation.

2. Different theories of translation equivalence

2.1. “Equivalent effect” in translation

Nida’s theory of translation developed from his own practical work since 1940s when he was

translating the Bible, with the two core books: “Toward a science of translating” (1964) and “The

theory and Practice of translation” (1969) co-authored with Taber. Basing on Chomsky’s work on

syntactic structure which formed the theory of generative-transformational grammar in 1957 and

1965, Nida generated the two basic types of equivalence: formal equivalence and dynamic

equivalence. Important work on equivalence is also carried out by Werner Koller in his “Research

into the science of translation” (1979) where he differentiates the two terms “correspondence” and

“equivalence”. Correspondence falls within the field of contrastive linguistics while equivalence

relates to equivalent items in specific ST- TT pairs and contexts. In attempt to answer the question

of “equivalent effect”, Koller goes on to describe 5 types of equivalence: Denotative equivalence,

connotative equivalence, text-normative equivalence, pragmatic equivalence, formal equivalence.

2.2. “Non-equivalence” in translation

Different forms of non-equivalence can be found in several typologies of equivalence proposed by

Catford (1965), Kade (1968), Monia Bayar (2007) under various terms such as “untranslatability”,

“nil-equivalence” “null-equivalence”, “zero-equivalence”.

Catford (1965) distinguishes two kinds of untranslatability, that is, linguistic untranslatability and

cultural untranslatability. Kade (1968) and other translators (Arntz 1993, Hann 1992) on lexical

equivalence, in particular in the area of terminology, combine the qualitative distinctions with a

quantitative aspect that categories equivalence relationships according to following types: One–to–

one equivalence; One–to–many equivalence; One–to–part–of–one equivalence; Null equivalence or

nil equivalence. According to Monia Bayar (2007), equivalence consists of seven degrees:

Optimum translation, near – optimum translation, partial translation, weaker and stronger

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translation, poor translation, mistranslation, zero equivalence or translation. One of the

explanations for the problem of non-equivalence is due to culture-specific concepts. The study will

take a closer look at the nature of those items.

3. Translation of culture-specific concepts

3.1. Different views on culture-specific concepts

Newmark (1988) introduced 'cultural word' and classifies cultural words into 5 groups: ecology;

material culture; social culture; organizations, customs, activities, procedures, concepts; gestures

and habits. Baker (1992) refers to such cultural words as concepts which are “unknown in the

target culture”. Nord (1997) defines cultureme as "a cultural phenomenon that is present in culture X but not present (in the same way) in culture Y"

3.2. Translation strategies for culture-specific concepts

According to Newmark (1988) there are many procedures used for translation of cultural words:

Transference (loan word, transcription); Naturalization; Cultural equivalent; Functional equivalent;

Descriptive equivalent; Synonymy; Through translation; Shift or transpositions; Modulation;

Recognized translation; Translation label; Compensation; Reduction and expansion; Paraphrase;

Couplets; Notes, additions, gloss, etc.

II. Terms in Quan Ho Bac Ninh folk songs as culture-specific concepts

1. Description of Quan Ho Bac Ninh folk songs

Quan Họ Bắc Ninh folk songs are alternating response songs between male and female singers. By

comparing Quan họ lyrics with the development of the Vietnamese language, some claim that

Quan họ songs developed in the middle of the 18th century. Quan họ is sung in pairs with one

person singing the leading tune and another sings a secondary part, but the two tunes should be in

perfect harmony at the same timbre. There are four singing techniques: restrained, resonant, ringing,

and bouncing. In performance, the outfits of Quan ho are distinctive : The female costume includes

non thung quai thao (the large round Quan họ hat) and a scarf for wrapping the hair, camisole,

tunic, skirt, and scarves tied about the waist. The male costume includes a turban, umbrella, a shirt

or robe including undershirts and long tunics with five pieces, trousers, and slippers. The male

umbrellas and female hats are symbols that embody beliefs of the ancient Việt such as lingam

(phallus) and yoni (clitoris) worship.

2. Outstanding features of Quan Ho Bac Ninh folk songs

2.1. From artistic aspect

In terms of arts, Quan Ho Bac Ninh folk songs can be seen as: A heritage with highly artistic values;

A line between folklore and scholarly work; High skill and firm spirit; A champion on text

development.

2.2. From cultural aspect

In terms of culture, experts view Quan Ho Bac Ninh folk songs as: A living, elegant and artistic

style; A typical cultural form; A multidimensional convergence center

3. Quan Ho Bac Ninh folk song terms as culture-specific concepts

With the outstanding features described above, Quan Ho Bac Ninh folk songs represent things that

exist in Vietnamese culture but seem not to appear in other cultures. Thus, such denoted items as

“tục ngủ bọn”, “nhà chứa”, “ông Trùm, bà Trùm”, “liền anh, liền chị”, etc will be totally foreign to

some Westerners since they are items that do not have any lexicalized forms in their languages. It is

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known that a perfect translation for culturally-bound concepts like terms in Quan Ho Bac Ninh folk

songs are impossible. The problem of non-equivalence then poses great challenges to translators of

this field. It requires a variety of techniques or strategies that can produce the most effective

translations. This study is an attempt to fill the research gap.

CHAPTER 2: RESEARCH METHODS

I. Phase 1: Identification of QHBN terms in Vietnamese

1. Data collection methods

1.1. Document review

In order to get insightful understanding about Quan Ho Bac Ninh folk songs and identify key terms

in the field, the researcher scrutinized several books written by Quan Ho experts including: “Hát

Quan Họ” (1937); “Quan Họ - Nguồn gốc và quá trình phát triển” (1978) ; “Dân ca Quan Họ”;

“Một số vấn đề về văn hóa Quan Họ” (2000); “Văn hiến Kinh Bắc” (2002); “Vùng văn hóa Quan

Họ” (2006); “Không gian văn hóa Quan Họ Bắc Ninh – bảo tồn và phát huy” (2006); “Về miền

Quan Họ” (2010); “Dân ca Quan Họ: Lời ca và bình giải” (2010); “Không gian văn hóa Quan Họ”

(2011). After reading through the core books on Quan Ho Bac Ninh folk songs, the researcher

make a draft of glossary on QHBN key terms in Vietnamese with general description and

explanation for each according to certain groups: origin and activities of Quan Ho; musical features

of Quan Ho; outfits of Quan Ho.

1.2. Observation

In order to clarify the terms on origins and activities of Quan Ho villages or outfits of Quan Ho

singers, the researcher joined several social events held in Quan Ho villages such as Lim festival

(Hội Lim), Diem village festival (Hội làng Diềm), Kinh Duong Vuong festival (hội Kinh Dương

Vương), But Thap festival (hội Chùa Bút Tháp) in January, February and March (lunar calendar).

A number of videos and audios officially included in the National Candidature File for Inscription

on Quan Ho Bac Ninh folk songs were taken for the observation accompanied with detailed reports.

1.3. Interviews

Semi-structured interviews with two Quan Ho experts were implemented to check the accuracy of

several terms with different variations in spelling, for example, “Quần nghiêm ống sớ chúc bâu” or

“Quần nghiêm ống sớ trúc bâu”, “Ô lục soạn” or “Ô lục xoan”. Semi-structured in-depth interviews

with 2 pairs of Quan Ho artists (both male and female pairs) were conducted for nearly half an hour.

2. Data analysis methods

2.1. Data from document review and observation

During the synthesis of data taken from written documents and personal notes of the researcher,

different types of highlighters were used to identify and group relevant information in particular

themes.

2.2 Data from interviews

Answers from informants were first transcribed into condense summaries and then categorized

according to selected themes in the table from earlier analysis of document review data.

The product of phase 1 is presented in the following table:

Đặc điểm

Thuật ngữ

Giai thich thuật ngữ

(Tục) kêt cha

- Kêt cha : nhiêu lang xa (làng Quan Họ ) kêt nghia vơi nhau b ằng tình

cảm - Kêt ban Quan Ho theo nguyên tăc : Bọn nam của làng này kết bạn với bọn nư làng kia không được phép lấy nhau

-Nhà chứa: “nha đê chưa Bon Quan ho” ; nơi hôi hop, tâp luyên, nơi “ngu bọn” của Bọn Quan Họ và lớp đàn em học nghề chơi , nơi đon tiêp Quan

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Nguôn gôc & Hinh

thưc sinh hoat

(Tục) ngủ bọn Bọn Quan Họ Nhà chứa

Họ bạn, nơi tô chưc hat canh.

- Môi bon Quan Họ có 1 Nhà chứa riêng. Bọn QH: do cac Liên Anh, Liên Chị đăt ra để chi tô chức cơ sơ của QH (Bọn: chi 1 tâp thê đông chât – cùng giới tinh)

- Ngủ bọn: Các bọn QH sau khi tâp luyện nhiều tại nhà chứa , quá khuya phải nghi lại.

Làng Quan Họ

Đơn vị cơ sơ của Quan Họ, cần đảm bảo 3 tiêu chí: Làng có ít nhất 1 bọn Quan Họ nam và 1 bọn Quan Họ nư; Các bọn Quan Họ phải kết bạn với các làng Quan Họ khác; 2 tiêu chí này phải tồn tại tối thiểu trong 3 đời.

Ông Trum, Bà Trùm

-Ngươi đưng ra thanh lâp bon Quan H ọ, quản ly và điều hành các hoạt đông cua bon

Liên anh Liên chi

- (Phương ngư) Biến âm từ “đàn anh”, “đàn chị”, chi nhưng ngươi trưc

tiêp đi “chơi Quan Ho” Môi bon QH co 5 Liên Anh (Bọn nam) hoăc 5 Liên Chi (Bọn nư)

Chơi Quan Ho

- Kêt ban , quan hê thương xuyên , thân thiêt như anh em ruôt thit theo nguyên tắc tự nguyện, dựa trên tình cảm chân thành.

- “Chơi” bao gồm cả ăn ơ, đi lại, sinh hoạt hội hè, giao lưu theo đúng phong tục, lễ nghĩa của người Quan Họ

Đặc điểm, hình thức hát Quan Họ

Hát đối đáp Một căp nam hát đối lại câu ra của căp nư

Hát đối giọng

Câu ra-Câu đối

Một bên hát 1 câu, bên kia đối lại 1 câu cùng âm điệu nhưng lời ca khác (đôi khi đối cả ý)

Người dẫn giọng (Giọng dẫn)

Giọng hát tốt, thuộc nhiều bài, đối đáp sành sỏi

Người hát luồn (giọng luồn)

Hát quyện với giọng dẫn sao cho 2 giọng nghe như một

Hát thờ - Hát trong đinh, đền; câu hat thơ thay thê cho lơi câu khân, ca ngơi công đưc thân, câu thân phu hô.

Hát hội - Chủ yếu hát ơ trung tâm hội làng, để cầu vui - Hát khi các bọn QH mới găp nhau, dùng câu ca thay cho lời chúc mừng

thông thương trong cuôc sông

Hát thi lấy giải - Hát tại các cuộc thi để giành giải thương, mục đich chinh là tìm ra

nhưng “Liền Anh”, “Liền Chị” xuất sắc để truyền nghề cho lớp đàn em.

Hát canh - Chi hát trong nha chưa, hát giưa các bọn QH làng khi mơ hội xuân; chi hát vào ban đêm

Cac giọng Quan Họ:

chia theo trinh tư

môt cuôc hat

Giọng

Quan Họ cô >< Quan Họ mới

Có nhiều cách định nghĩa giọng: - Âm sắc của tiếng hát

- Một âm điệu chung của nhiều bài - Âm điệu khác nhau nhưng chung gốc - Tông số âm điệu của bài hát cụ thể được xếp thành một loại

Bài độc Bài sáng tác được học trong từng Bọn Quan Họ, được dùng để đối đáp khi hát thi ơ nhưng thời điểm quyết định.

Giọng lề lối (giọng cô)

- Gôm nhưng bai hat mơ đâu; tiêt tâu châm, rê ra, âm điêu ơ âm khu thâp, tâm cư hep, đương net giai điêu đêu đêu

Giọng văt (giọng le, vụn)

- Con gọi là giọng giao duyên - Có nhiều âm điệu phong phú nhất , ngăn gon vê giai điêu ; tiêt tâu linh hoạt, săc thai thanh thoat, tươi sang, phong phu; dùng nhiều đệm lót sinh đông

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Giọng gia bạn - Gôm nhưng bai hat cuôi cung đê tư gia nhau (bên tư gia, bên hat mơi ơ

lại) nhưng mang ve lưu luyến, không muốn chia tay.

Cac ki thuật hat

Quan Ho

Vang Giọng lan tỏa, to, ro ràng trong không gian rộng

Rên (liên) Giọng có sự hoa quyện

Nên Nên na, có chất quê, không công minh

Nảy (nảy hạt) Đoan ngân đươc căt ra, vo tron trong cô hong rôi bât ra

Tiếng đưa hơi Tiếng vô nghĩa, hát chệch đi dùng để đưa hơi (a, ư, hời ha, hời hư, i a…)

Tiếng đệm Nhưng tiếng đệm lót và đệm nghĩa (tinh tang, là rằng, tình bằng, thời mà, ố mấy...)

Trang phuc

hat Quan Họ

Liền

Anh

Khăn xêp

- Vải lụa hoăc nhiễu, màu đen hoăc thâm, gâp theo chiêu dai dai vai. - Khăn vân lên đâu sao cho 2 nêp đâu tiên tao thanh chư “nhân” - Khăn giup cho khuôn măt Liên Anh “vuông chư Điên”

Áo the - Áo dai qua mông, không lươn eo, cô tron, nep cô áo

Quân nghiêm ông sơ trúc bâu

- Ống tron đưng, giông như ông sơ dưng tâu vua - May băng diêm bâu, trúc bâu hoăc lụa

Giày Gia Định Giày xuất xứ từ thời Gia Định

Ô luc soạn Hinh khum tron, chia 6 múi, màu đen

Liền

Chị

Nón thúng quai

thao

- Nón: băng la banh te co mau hông , mỏng, rông, đươc phơt nhe môt lơp quang dâu cho co mau hông đao - Quai non: băng vai lua mêm, có màu hồng đào . Đầu quai nón có nhiều

tua băng sơi tơ, bên thanh nhiêu “qua thao”

Khăn mo qua

- Mảnh vải vuông , màu thâm hoăc đen , đươc gâp cheo mep vải lại , tạo thành tam giác. - Khi đôi, đăt lên vong khăn vân toc , gâp hinh mo qua ơ giưa đương re ngôi, băt hai goc khăn vê hai phia tai rôi thăt mui lai sau gay - “Mo qua” phai đươc năn thanh hinh chư “nhân” sao cho măt cua Liên chị có hinh tựa như búp sen

Áo mớ ba mớ bảy Là chiếc áo năm thân được gọi một cách vần điệu cho có chất thơ

Yêm lua đao

Mảnh vải hinh vuông , dưng cheo, khoet một góc ơ phần cô , măc trươc ngưc, bó sát người - Được may bằng vải lụa hoăc vải non, sơi nho hoăc vai quyên

Khuyên vang, xà tich

- Xà tich đeo ơ thăt lưng, để đeo cơi giầu, vinh vôi.

Cơi trâu Dùng để mời khách trong các cuộc găp gỡ, giao duyên

Váy lưỡi trai bảy bưc

Loại váy cô, trùm gần kín chân, phần dưới uốn cong gần giống lưỡi trai

Dep mui

Dep cong, cưng, làm bằng da trâu, có một vong tron bằng da trên măt dep để xỏ ngón chân thứ 2.

Table 1: QHBN terms in Vietnamese

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II. Phase 2: Analysis of QHBN terms in English

1. Data collection methods

1.1. Document review

A series of English books, articles about Quan Ho Bac Ninh folk songs were collected to help the

researcher find out different types of equivalence used in translating Quan Ho terms. Almost all of

the printed materials were taken from Vietnam Institute of Culture and Arts studies. Once the

equivalents have been identified, they were categorized on the basis of translation strategies

proposed by Peter Newmark (1988).

1.2. Interviews

Interviews with translators

Semi-structured interview with two translators of these articles/ books were implemented. Answers

from these translators helped the researcher shape the reasonable explanations for some strategies

used during their translation of Quan Ho terms. The interviews were recorded by audio tape and the

researcher’s notes.

Interview with foreign tourists

In order to measure the comprehension of the translated terms on Quan Ho costumes (Khăn xếp, áo

the, nón quai thao, khăn mỏ quạ, áo mớ ba mớ bảy, etc) to foreign tourists who can communicate in

English (since they are target readership), the researcher carried out 2 structured interviews during

the time of the above festivals held in Bac Ninh province. Tourists were given the real objects

labeled with different English equivalents as options.

2. Data analysis method

2.1. Data from document review

Similar procedures of data analysis in phase 1 were performed. The difference lies in the principle

of categorizing data. For example, information collected in phase 2 was grouped according to

names of different translation strategies.

2.2. Data from interviews

Thanks to the small number of participants in the interviews, the data then could be transcribed

without difficulties. The main procedures were similar to those in phase 1.

III. Phase 3: Creation of QHBN glossary

Having completed the comparative analysis of Quan Ho Bac Ninh folk songs from source text and

target text, the researcher proposed a glossary of key terms (which is illustrated in chapter 3).

CHAPTER 3: FINDINGS AND DISCUSSION

I. What are the strategies to form equivalents of terms in Quan Ho Bac Ninh folk songs?

Table 2 represents strategies used by different translators to solve the problem of non-equivalence

in translating QHBN terms. (See appendix). A comprehensive analysis of each strategy for a

certain group of term will be carried out.

1. Transference

As can be seen in Table 2, several terms including Vua Bà, Liền Anh, Liền Chị, Giọng, Giọng lề

lối, Giọng văt, Giọng giã bạn, Chơi Quan Họ have been translated by transference as a procedure.

Once using this procedure, the translators try to give “local colour” of Quan Ho culture to attract

the readers, to give “a sense of intimacy between the text and the reader” (Newmark, 1988) -

sometimes the sound or the evoked image appears attractive. However, this method, as claimed by

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Newmark, may cause problems for the general readership such as foreign tourists who have little

knowledge about Quan Ho folk songs.

2. Literal translation

As the most important of the procedures, literal translation tends to render as closely as possible the

meaning of the source words. This procedure is particularly appropriate for translation at word

level with SL grammatical structures converted to the nearest equivalents in TL. The equivalents of

Quan Ho terms are presented in the following table:

Vietnamese English equivalents

Ông Trùm, Bà Trùm Male/ female Chieftain

Làng Quan Họ Quan Họ village

Hát đối đáp => Câu ra ><Câu đối Challenge – and- response singing

Challenge phrase ><Response phrase/ matching phrase

Hát đối giọng Retort singing

Giọng Tune

Vang Ringing

Rền Restrained

Nền Resonant

Nảy (hạt) Bouncing (grains)

Quan Họ cô

Quan Họ mới

Ancient/ Old Quan Ho

Modern/ New Quan Ho

Bài độc Unique song

Người dẫn giọng (Giọng dẫn)

Người luồn giọng (Giọng luồn)

Voice leader (Leading tune)

Through-passing singer (Secondary tune)

Tiếng đưa hơi Balancing breath/ Letters of modulation

Tiếng đệm Interlocking sounds/ Interlocking rhymes/ Helping words

Cơi trầu Betel tray

Table 3: QHBN terms translated by literal translation

Literal translation only works well if the SL and TL meaning correspond, or correspond more

closely than any alternative; in other words, the referent and the pragmatic effect are equivalent.

Further, a common object will have a one-to-one literal translation if there is cultural overlap.

Unfortunately, such terms as “giọng lề lối”, “giọng văt”, “giọng giã bạn” seem to create a

distinctive feature of Quan Ho culture.

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3. Reduction

Vietnamese English equivalents

Khăn xếp Turban

Quần nghiêm ống sớ trúc bâu Trousers

Ô lục soạn Umbrella

Áo mớ ba mớ bảy Tunic

Yếm lụa đào Silk halter

Váy lưỡi trai bày bức Gown/ Skirt

Dep mui cong Slippers

Table 4: QHBN terms translated by reduction

Reduction means dropping a word or words from the SL while translating. Some translators refer to

it as omitting the problematic culture-specific item altogether so that no trace of it is found in the

translation (Davies, 2003). Such deletion could also simply be an act of desperation on the part of

the translator who is unable to find an adequate way of conveying the original meaning (“Quần

nghiêm ống sớ trúc bâu”, or “váy lưỡi trai bảy bức” are expressions that may cause challenges for

even Vietnamese readers).

4. Cultural equivalent

Vietnamese English equivalents

Kết chạ (tục) Village twinning custom

Hamlet binding custom

Bonding custom

Ngủ bọn (tục) Sleepover custom

Table 5: QHBN terms translated by cultural equivalents

The advantage of “cultural equivalent” is that “it gives the reader a concept with which s/he can

identify, something familiar and appealing,” and likely to have a similar impact on the target

readers. However, cultural equivalence or cultural substitution seems to cause a great cultural loss

of the SL.

5. Descriptive equivalent

Vietnamese Equivalents

(Tục) kêt cha - Custom of shacking two villages

(Tục) ngủ bọn - “Sleeping in troupe” custom

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BON Quan Họ - The troupe of the popular alternative love duet

Hát đối giọng - Dual singing with counter voice

Hát thờ - Singing in honor of deities at ritual houses

Áo the - A shirt or robe including undershirts and long tunics with five pieces

Khăn mo qua - Kerchief in the form of crow beak

- Scarf for wrapping the hair

Xà tich - Scarves tied about the waist

Chơi Quan Ho - The way of playing popular alternative love duets

- Social practice of Quan Họ

Table 6: QHBN terms translated by descriptive equivalents

With each descriptive equivalent, several words are used to explain a single ST expression. Most of

the time translators decided to take the literal meaning of each component as a base for their

explanation. For example, “khăn mỏ quạ” is described as a type of kerchief in the form of a crow

beak, or “áo the” can be identified as a shirt or robe including undershirts and long tunics with five

pieces. Although this translation procedure may offer a clear picture of SL phrase in the target

readers’ mind, it fails to render the aesthetic values of the ST expressions..

5. Couplets

Vietnamese Equivalents

Vua Ba - “Vua Ba” (Grand-mother King)

(Tục) kêt cha - “Kết chạ” (“Village twining” custom)

(Tục) ngủ bọn - “Ngủ bọn” (Sleepover custom)

Nhà chứa - “Nhà chứa” (“Hosting house”)

BON Quan Họ - “Bon Quan Ho” (Quan Ho Troupe)

Liên anh, Liên chi - “Liên Anh, Liên Chi” (male/ female singers)

Hát thờ - “Hat thơ” (Singing at rituals)

- Singing in honor of deities at ritual houses

Hát hội - “Hat hôi” (Singing at festivals)

Hát thi lấy giải - “Hat thi lây giai” (Singing for prizes)

Hát canh - “Hat canh” (Singing at a host’s house)

“Giong” - Giọng (Tune-type(s))

Quan Ho cô

Quan Ho mơi

- Quan Ho cô (Old-style Quan Ho)

=> Quan Ho mơi (new/ modern Quan Ho)

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Giọng lề lối - Giọng lề lối (Standard tune-type)

Giọng văt - Giọng văt (variety tune-type)

Giọng gia bạn - Giọng gia bạn (Farewell Tune-type)

Bài độc - Bài độc(Unique song)

Nây (hạt) - Nảy hạt (Bouncing grain)

Nón thúng quai thao - Quan Ho hat/ “Quai thao” hat (flat palm hat with fringers)

Khăn mo qua - “Mo qua” turban (Kerchief in the form of crow beak/

Scarf for wrapping the hair)

Chơi Quan Ho - “Chơi Quan Ho” (The way of playing popular alternative love duets)

Table 7: QHBN terms translated by couplets

Couplets combine two procedures for dealings with a single problem. It is particularly common for

cultural words, with transference combined with another procedure. The explanation for such

combination can be traced back to the merits and weaknesses of those procedures. Once a translator

prioritizes the “local color” of Quan Ho culture, transference comes as the first choice. However, in

the case where no knowledge of Quan Ho culture by the readership is presumed, there should be

other supplementary procedures. Cultural equivalent may provide readers with a better image of

certain cultural items in Quan Ho Bac Ninh such as “tục ngủ bọn” or “tục kết chạ” which are

similar to the customs of “village twinning custom” in some English-speaking cultures, although

this strategy can be criticized for its inaccuracy. Descriptive equivalent, sometimes may cause

wordiness for the translation but offers a clear-cut explanation for each concept. With the above

strengths, couplets can be the most suitable translation procedure to deal with non-equivalence

when translating Quan Ho Bac Ninh terms.

II. What are suggested translations of terms in Quan Ho Bac Ninh folk songs?

Based on data collected from document review and interviews, the researcher has built up a

glossary of key terms in Quan Ho Bac Ninh Folk Songs as follows:

Thuât ngƣ

(Terms)

Tƣơng đƣơng

(Equivalents)

Nguôn gôc &

Hinh thức sinh

hoat

(Origin and

social activities

of Quan Ho)

Vua Ba - “Vua Ba” (Grand-mother King)

(Tục) kêt cha - “kết chạ” (“Village twining”/ “Hamlet binding” custom)

Tục ngủ bọn - “Ngủ bọn” (“Sleepover” custom/ “Sleeping in troupe” custom)

Làng Quan Họ Quan Ho village

Nhà chứa - “Nhà chứa” (“Hosting house”)

BON Quan Họ - “Bon Quan Ho” (Quan Ho Troupe)

Ông Trum, Bà

Trùm

- “Ông Trùm, Bà Trùm” (Male/ female Chieftain)

Liên anh, Liên chi - “Liên Anh, Liên Chi” (male/ female Quan Ho singers)

Chơi Quan Ho - “Chơi Quan Ho” (Social practice of Quan Ho)

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Cac đặc điểm,

hinh thức hat

Quan Ho

(Musical

features of

Quan Ho)

Hát đối đáp “Challenge-and-response” singing

Hát đối giọng - Retort singing

- Dual singing with counter voice

- Counter-voice singing

Câu ra

Câu đôi

Challenge phrase/ song

Matching phrase/ song

Hát thờ - “Hat thơ” (Singing at rituals)

Hát hội - “Hat hôi” (Singing at festivals)

Hát thi lấy giải - “Hat thi lây giai” (Singing for prizes)

Hát canh - “Hat canh” (Singing at “Hosting house”)

Cac giọng Quan

Họ

(Quan Ho tune-

types)

“Giong” - Giọng (Tune-type(s))

Quan Ho cô - Quan Ho cô (Old-style Quan Ho)

Quan Ho mơi => Quan Ho mơi (modern Quan Ho)

Giọng lề lối - Giọng lề lối (Standard tune-type)

Giọng văt - Giọng văt (variety tune-type)

Giọng gia bạn - Giọng gia bạn (Farewell Tune-type)

Bài độc - “Bai đôc” (Unique song)

Cac ki thuật hat

Quan Ho

(Quan Ho

singing

techniques)

Vang Ringing

Rên Resonant

Nên Restrained

Nảy (hạt) - “Nay hat” ( Bouncing grains )

Tiêng đưa hơi - Balancing breath/ Letters of modulation

Tiêng đêm - Interlocking sounds

Căp hat Quan

Họ

(Pairs of Quan

Ho singers)

Ngươi dân giong

(Giọng dẫn)

- Voice leader/ Leading tune

Ngươi hat luôn/

luôn giong

- Though-passing singer/Follower (Supporting)

Trang phuc hat

Quan Ho

(Quan Ho

singing outfits)

Khăn xêp - Quan Ho turban

Áo the - A shirt or robe including undershirts and long tunics with five

pieces

Quân nghiêm ông

sơ truc bâu

- Quan Ho trousers

Giày Gia Định - Gia Dinh Slippers

Ô luc soan? - Umbrella

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Nón thúng quai

thao

- Quan Ho hat (flat palm hat with fringers)

Khăn mo qua - “Mo qua” turban (kerchief in the form of crow beak)

Áo mớ ba mớ bảy - Five-flap gown

Yêm lua đao - Camisole

- Silk halter

Khuyên vang, xà

tich

- Ear-rings

- Xà tích (scarves tied about the waist)

Cơi trâu - Betel tray

Váy lưỡi trai 7 bưc - Quan Ho Gown

- Dep mui (cong) - Slippers

Table 8: Glossary of key terms in Quan Ho Bac Ninh folk songs

Part C: CONCLUSION

I. Summary of key findings

To set firm background for the study, a critical review of literatures has been made. A variety of

related concepts including translation, equivalence, non-equivalene, culture-specific items was

explored. The problem of non-equivalence caused by culture-specific items was also touched upon

with detailed description of several translation strategies.

A considerable proportion of the study has been spent on a discussion of the methods used for data

collection (document review, observation, interviews) and data analysis in three separate phases:

identify QHBN terms in Vietnamese; analyze English equivalents of QHBN terms; propose a

glossary of key terms in QHBN folk songs. The study’s findings have underlined six major

translation strategies by Peter Newmark for QHBN terms with clear-cut explanations of their

strengths and weaknesses: Transference; literal translation; reduction; cultural equivalent;

descriptive equivalent; couplets.

II. Limitations of the study

There are three limitations that need to be acknowledged and addressed regarding the present study.

The first limitation concerns the research methodology. As different types of research tools were

employed during three separate phases of the study, the implementation was very time-consuming

and so was the the data analysis.

The second limitation has to do with the number of key terms. Due to the difficulties of time and

resources, only a small quantity of Quan Ho terms was placed emphasis on.

The third limitation involves the cultural untranslatability which arises when a situational feature is

completely absent in the culture. In fact, translators of Quan Ho Bac Ninh terms tend to manipulate

or omit culturally incongruous items, so that they eventually become translatable. Despite the fact

that 'perfect' translation has never existed and there are only translations more or less suitable or

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successful for specific purposes and contexts, future efforts may be placed to work out more

satisfactory solutions.

III. Suggestions for further studies

During the course of this study, several interesting areas emerged that were also linked with

translation equivalence. These areas were, however, outside the scope of this thesis. It is expected

that these are fertile areas for future researches:

Venuti (1995) recommends applying “foreignization” as a solution for cultural clashes in

translation. This strategy is a source-culture-oriented, striving to preserve the foreign

flavour as much as possible in order to transfer the source culture into the target one.

Bearing in mind the differences between ST and TT audiences, future studies may address

the extent to which Quan Ho terms as culture-specific items should be foreignized.

QHBN folk songs are mainly composed exploiting folk verses and poems and a number of

fixed expressions, collocations, idioms are used in the lyrics of Quan Ho songs. Future

studies may put focus on those aesthetic values.

QHBN is also characterized by its special lyrics which are perfectly polished in poetic and

standard language. Future attempts may focus on the translation of Quan Ho songs so that

international friends can feel their beauty deeply.